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Paris Notre-Dame de Paris 
Construction work on Notre-Dame de Paris commenced in the reign of Louis VII (1137-1180) with the construction taking place between 1163 and 1345. Its construction was initiated by Bishop Maurice de Sully who envisaged a grand cathedral that would reflect the growing influence of Paris as a spiritual and cultural centre. Designed as a place of worship, dedicated to the Virgin Mary. It became the seat of the Archbishop of Paris, reinforcing the city’s role in Catholicism. Constructed on the site, that had previously held earlier churches and a Gallo-Roman temple dedicated to Jupiter, the buildings grandeur reflected the power of the French monarchy, which sought to establish Paris as a dominant European capital. Its design showcased the latest advancements in Gothic architecture, including flying buttresses, ribbed vaults, and rose windows, setting a precedent for future cathedrals. Construction of the building began between 1163-1182 with the choir and ambulatories which allowed religious services to take place while the rest of the cathedral was still under construction. Following this the nave and aisles were next constructed in 1182-1190. Between 1190-1225 the main façade and its three portals were erected, showcasing intricate Gothic sculptures. Between 1225–1250 the upper façade and twin towers were completed, giving Notre-Dame its iconic silhouette for which it is known. Between 1250–1363 the north and south transepts were modified, and additional chapels were added. Over the centuries, Notre-Dame became a stage for royal ceremonies, coronations, and historical events, and hosted many royal ceremonies, including Napoleon’s coronation in 1804, thus cementing its place as a cultural and spiritual landmark. The Cathedral is famous, externally, for its flying buttresses and stained glass windows. The Flying Buttresses were introduced in the 13th century; These external supports were revolutionary in medieval engineering, allowing for thinner walls and larger windows while maintaining structural integrity.  The building is particularly known for its grand western facade, which features three grand portals, each depicting biblical scenes, statues and intricate carvings which includes the Last Judgment, the Virgin Mary, and Saint Anne.  The centre portal is the Portal of the Last Judgment which depicts the Day of Judgment, with Christ enthroned above, angels sounding trumpets, and souls being weighed. It serves as a powerful reminder of salvation and divine justice. The Right or South portal is that of the Portal of Saint Anne, which is the oldest of the three, this Romanesque-style portal portrays episodes from Christ’s childhood, including the Annunciation, Nativity, and Epiphany. It also features a striking depiction of the Virgin and Child, flanked by a French king and a bishop, symbolizing the close ties between royalty and Christianity.  The Left or North Portal is the Portal of the Virgin dedicated to the Virgin Mary; this portal illustrates her death, assumption, and coronation as Queen of Heaven. The sculptures emphasise her role in Christian tradition. Each portal is framed by archivolts filled with angels, saints, and biblical figures, creating a rich visual narrative. Rising above these to a height of 69 meters (226 feet) are the twin towers. These were originally intended to have spires, though they were never added. The cathedral boasts three magnificent stained-glass rose windows, depicting biblical scenes and flooding the interior with colourful light.  Dating back to the 13th century, Notre-Dame’s rose windows, are among the most treasured elements of the cathedral. Despite the fire, the windows remained intact, though they required extensive cleaning to remove soot and debris. Restoration teams carefully preserved their original colours and patterns, ensuring they continue to illuminate the cathedral’s interior. The cathedral also contains many Gargoyles and Chimeras, which are stone creatures serving both decorative and practical purposes, acting as waterspouts to divert rainwater away from the building. In the 18th and 19th centuries, the cathedral underwent modifications which included restorations led by Eugène Viollet-le-Duc, who added the famous spire that was destroyed in the 2019 fire, this was rebuilt following the fire. On entry into the nave visitors a met by a vast central space with towering columns and ribbed vaults, creating a sense of verticality and openness. The design, with its ribbed vaults set a precedent for future cathedrals. These soar above the nave, drawing the eye upward and enhancing the cathedral’s sense of verticality and lightness. These rest on a system of ribbed arches, which distribute the weight of the stone ceiling down through the columns and out via the flying buttresses. The vaults soar above the nave, drawing the eye upward and enhancing the cathedral’s sense of verticality and lightness. Enhancing also the cathedral’s height and acoustics. Supporting the structure are Corinthian-style pillars.  At the far end of the nave is the High Altar which has undergone several transformations over the centuries. It was originally redesigned in the 18th century under Louis XIV, fulfilling a vow made by Louis XIII to honour the Virgin Mary. The High Altar incorporate a number of statues which include The Pietà, a striking white marble statue sculpted in 1723, by Nicolas Coustou. It depicts the Virgin Mary holding the body of Christ, with her face turned toward the sky in a gesture of grief and acceptance, flanked by angels.  Also around the altar are six bronze angels carrying instruments of the Crucifixion, crafted by Antoine Vassé, in the early 18th century, and the Marble statues of Louis XIII and Louis XIV, kneeling in devotion to the Virgin. The ambulatory is a feature that allows movement around the apse and nave and consists of a double row of columns, forming side aisles that create a unique space for worshippers and visitors to walk through. It serves both a practical and symbolic function enabling circulation around the choir without disrupting services, while also emphasizing the cathedral’s openness. This design was expanded in the 13th century, when chapels were added around the side aisles, enhancing the cathedral’s layout.  Notre-Dame de Paris in fact features 29 side chapels, added in the 13th century, surrounding the cathedral’s interior. These chapels, particularly the radiating chapels around the choir, were often consecrated by wealthy families to ensure regular prayers for deceased relatives. Many chapels contain altars, statues, paintings, and reliquaries, reflecting centuries of devotion and artistic craftsmanship. During the French Revolution, several chapels were damaged or destroyed, but some elements survived, including the tomb of Simon Matifas de Bucy, a bishop from 1290 to 1304. The chapels also house the graves of various bishops and archbishops of Paris, adding to their historical significance The Chancel Screen of Notre-Dame de Paris, also known as the Choir Enclosure, dates back to the 14th century and serves as a sculpted barrier between the choir and the ambulatory. Originally, it provided a screen of silence for the canons gathered for prayer, ensuring a sense of reverence during services.  The screen is adorned with detailed reliefs depicting scenes from the life of Christ, including the Visitation, Nativity, and Last Supper. Designed by Pierre de Chelles, the northern section was completed in 1316, while the southern part was finished by Jean Ravy in 1344. The enclosure underwent restoration in the 19th century, with efforts to preserve its original colours. Within the cathedral are two baptismal fonts. The old one was designed by the artist Goudji in 1985 and is Crafted from hammered and silver-plated brass with granite inlays, it combined traditional materials with a modern aesthetic. The cathedral did have a font prior to this but no details of this one are known. The old font held deep spiritual significance as it was used by Pope John Paul II during World Youth Day in Paris in 1997 to celebrate baptisms, marking a historic moment in the cathedral’s liturgical life. After the 2019 fire, the font was replaced by a new design as part of the cathedral’s restoration.  The new baptismal font crafted from bronze, was designed by Guillaume Bardet, and reflects a modern yet reverent approach which emphasises simplicity and humility while complementing the grandeur of the cathedral’s Gothic architecture. It replaces the previous font that was damaged in the 2019 fire.  The original font, was made of hammered silver-plated brass with granite inlays, giving it a distinct textured appearance. The new font is crafted from bronze, emphasizing simplicity and warmth while ensuring durability. Both fonts are placed near the main entrance, symbolizing baptism as the beginning of the Christian journey. The Great Organ of Notre-Dame de Paris is one of the most famous and largest organs in the world, with five keyboards, 115 stops, and nearly 8,000 pipes. It has undergone multiple restorations since its original construction in the 18th century.  Despite the devastating fire in 2019, the organ miraculously survived without major damage, though it was affected by water infiltration and lead dust. Restoration efforts have been ongoing, with specialists meticulously cleaning and reassembling its components to ensure it regains its full sound potential. The organ was fully restored and harmonised in time for the cathedral’s reopening in December 2024. The Pulpit was designed by Eugène Viollet-le-Duc in 1868 and is made of intricately carved wood. This was classified as a historical monument since 1980 and remains one of the cathedral’s most significant furnishings. It survived the fire but required deep cleaning to remove soot and dust.  Within the cathedral is a collection of paintings, primarily from the 17th and 18th centuries. These works were commissioned by the cathedral’s canons from some of the most distinguished Parisian painters of the time.   Within the southwest corner of the cathedral, is a statue of Saint Joan of Arc, sculpted by Charles Desvergnes in 1920. This depicts Joan in prayer, hands clasped, wearing armour and a helmet, with a fleur-de-lis skirt. The statue was inaugurated on May 7, 1921, shortly after Joan’s canonization in 1920.  |
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All Photographs were taken by and are copyright of Ron Gatepain
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